911爆料

Biography

Dr. Alise Tifentale is an Adjunct Assistant Professor of Art History at the City University of New York at 911爆料 Community College since fall 2022. Tifentale is an art and photography historian whose research and writing focuses on three major areas: global photo-club culture and the transnational networks of photographers at mid-century (ca. 1950-1965), photography in social media such as Instagram, and selected topics in Soviet, post-Soviet, and Eastern European art and photography. Since 1998 she has written extensively about contemporary and media art as well as history of art and photography in Latvia and the Baltic region.

Tifentale is the author of the books Photographer Alnis Stakle (2009) and The Photograph as Art in Latvia, 1960-1969 (2011), her scholarly articles have appeared in journals such as ARTMargins, CAA.Reviews, MoMA Post, Networking Knowledge, PhotoResearcher, Russian Art & Culture, and others. She has contributed chapters to volumes such as Routledge Companion to Photography and Visual Culture (2018), Exploring the Selfie: Historical, Analytical, and Theoretical Approaches to Digital Self-Photography (Palgrave Macmillan, 2018), The History of European Photography 1970鈥�2000 (Central European House of Photography, 2016), and Postdigital Aesthetics: Art, Computation, and Design (Palgrave Macmillan, 2015).

Tifentale is the curator and director of the archive and estate of photographer Zenta Dzividzinska (1944-2011) and painter Juris Tifentals (1943-2001) (). She was the co-curator of the Pavilion of Latvia at the 55th Venice Art Biennale (2013), and founder and editor-in-chief of photography magazine Foto Kvartals (2005鈥�2010).

Courses

Art 31 (Survey of Art History: Survey from Prehistory to the Present)

Art 33 (Survey of Art History: Ancient to Renaissance Art)

Art 34 (Survey of Art History: Renaissance to 19th-Century Art)

Art 36 (Twentieth Century Art)

Education

Ph.D., The Graduate Center, CUNY, 2020

M.A., Art Academy of Latvia, 2010

B.A., University of Latvia, 1998

College Teaching

Since 2022 at CUNY 911爆料; also: CUNY Queensborough, SUNY Old Westbury, Marywood University, and Art Academy of Latvia (Ph.D. thesis advisor at the Curatorial Studies department). Previously: CUNY York College, CUNY Bronx Community College.

Select Publications

Website

Books

Photo Club Culture: Global Collaboration, Competition, and Camaraderie in the 1950s (forthcoming).

The Photograph as Art in Latvia, 1960鈥�1969 (Riga: Neputns, 2011).

Photographer Alnis Stakle (Riga: Neputns, 2009).

Peer-Reviewed Articles (selected)

鈥淪ophie Thun Interprets Zenta Dzividzinska鈥檚 Negatives: A Case Study of Exploring and Re-evaluation of a Private Photo Archive,鈥� in Proceedings of the National Library of Latvia 9, no. 29 (2022): 254鈥�274. .

鈥淧hotokina 1956: A Revolt Against the Universal Language of Photography,鈥� in The Notebook for Art, Theory and Related Zones 26 (2019): 120鈥�146.

鈥淚ntroduction to Jos茅 Oiticica Filho's 'Setting the Record Straighter' (1951),鈥� ARTMargins 8, no. 2 (2019): 105鈥�115. .

鈥淎rt of the Masses:  From Kodak Brownie to Instagram,鈥� Networking Knowledge 8, no. 6 (2015): 1鈥�16. .

鈥淭he First Exhibition of Fine Art Photography in Latvia after World War II. 1957鈥�1958,鈥� Art History & Theory 15 (2012): 26鈥�33.

Book Chapters (selected)

鈥淔ollowing the Invisible Hand: The Role of Photo Clubs, Magazines, Exhibitions, and Curators in Latvian Photography, 1960鈥�2000鈥� in Elita Ansone, ed., Ten Episodes in Art of the Second Half of the 20th Century in Latvia (Riga: Latvian National Museum of Art, 2019), 239鈥�277.

鈥淐ompetitive Photography and the Presentation of the Self鈥� (co-author Lev Manovich) in Jens Ruchatz, Sabine Wirth, and Julia Eckel, eds., Exploring the Selfie: Historical, Analytical, and Theoretical Approaches to Digital Self-Photography (London, New York: Palgrave Macmillan, 2018), 167鈥�187. .

鈥淭he Selfie: More and Less than a Self-Portrait,鈥� in Moritz Neum眉ller, ed., The Routledge Companion to Photography and Visual Culture (London, New York: Routledge, 2018), 44鈥�58. .

鈥淔ifty Year Eclipse: Illuminating the Forgotten Legacy of Photographer Vilis R墨dzenieks鈥� in Katr墨na Teiv膩ne-Korpa, ed., Vilis R墨dzenieks (Riga: Neputns, 2018), 12鈥�31.

鈥淧hotography in Latvia, 1970鈥�2000,鈥� in The History of European Photography 1900鈥�2000, Volume II (Bratislava: Central European House of Photography, 2017), 437鈥�449.

鈥淚nto the Photographers鈥� Universe: What Separates Photographers from Artists?鈥�, in Latvian Photography 2017 (Riga: FK, 2017): 44鈥�51.

鈥淭he Networked Camera at Work: Why Every Self-Portrait Is Not a Selfie, but Every Selfie is a Photograph,鈥� in Santa Mi膷ule, ed., Riga Photography Biennial 2016 (Riga, 2016), 74鈥�83. Reprinted in the online magazine Echo Gone Wrong, May 2, 2016. .

鈥淭he Artist and Propagandist: Steichen's Role at Two Decisive Moments in the History of American Photography,鈥� in 艩elda Pu姆墨te, ed., Edward Steichen. Photography (Riga: Latvian National Museum of Art, 2015), 33鈥�37.

鈥�Selfiecity: Exploring Photography and Self-Fashioning in Social Media鈥� (co-author Lev Manovich), in David M. Berry and Michael Dieter (eds.), Postdigital Aesthetics: Art, Computation and Design (London: Palgrave Macmillan, 2015), 109鈥�122.  .

鈥淛ust what it is that makes Latvian art so different, so Latvian?鈥� in North by Northeast. Catalogue of Pavilion of Latvia at the 55th International Art Exhibition La Biennale di Venezia (Riga: kim?, 2013), 18鈥�28.

鈥淔rom Photographic Art to Photography in Art,鈥� in Ieva Astahovska (ed.), The Nineties. Contemporary Art in Latvia (Riga: The Latvian Center for Contemporary Art, 2010), 296鈥�306.

Articles and Essays (selected) 

鈥�Completing an Unfinished Sentence: On the Collaboration between Sophie Thun and the Archive of Zenta Dzividzinska.鈥� In Christin M眉ller and Torsten Scheid, eds., Sophie Thun. Trails and Tributes (ex. cat.), Hildesheim: Kunstverein Hildesheim and Verlag f眉r moderne Kunst, 2023, 49鈥�55.

鈥淲orking the Labor-Leisure Machine: Proposal for a Photography Museum Without Images,鈥� Riga Technoculture Research Unit, Season 1, 鈥淯nder the Hood.鈥� February 2023. .

鈥淧hotography Without Images: A Proposal to Think About the Medium as Practice, Apparatus, and Form of Social Interaction.鈥� In Arnis Bal膷us and Alexey Murashko, eds., Latvian Photography Yearbook 2022 (Riga: Kultkom, 2022).

鈥淓ntering the Elusive Estate of Photographer Zenta Dzividzinska.鈥� MoMA Post. Notes on Art in Global Context, March 24, 2021.  .

鈥淭he Lesser-Known Romantic Side of Soviet Art.鈥� In Good Morning USSR (ex. cat.), Seoul: NAMA Gallery, mM Art Center, 2021.

鈥淚s This the Right Time for Landscape Photography?鈥� in Zane Zajan膷kauska, ed., Riga Photography Biennial 2020 (Riga: Riga Photography Biennial, 2020), 27鈥�31.

鈥淢achines, Methods, and Humans: On the Production Line of Contemporary Photography,鈥� Fotografija 35, no. 1 (2018). Special edition 鈥淣ew Tools in Photography: From Google to the Algorithm,鈥� guest-edited by Paul Paper.

鈥�The Family of Man: Photography Exhibition that Everybody Loves to Hate,鈥� FK Magazine, July 2, 2018. . 

鈥淭he Myth of Straight Photography: Sharp Focus as a Universal Language,鈥� FK Magazine, January 18, 2018. .

鈥淩ules of the Photographers鈥� Universe,鈥� Photoresearcher, no. 27 (April 2017): 68鈥�77. Special issue "Playing the Photograph," guest-edited by Matthias Gru虉ndig and Steffen Siegel. .

鈥淓虫丑颈产颈迟颈辞苍 Anri Sala: Answer Me at the New Museum,鈥� CAA.Reviews, April 27, 2017. .

鈥淯nderexposed Photographers: Life Magazine and Photojournalists鈥� Social Status in the 1950s,鈥� FK Magazine, November 23, 2017. .

鈥淢aking Sense of the Selfie: Digital Image-Making and Image-Sharing in Social Media,鈥� Scriptus Manet: Journal of Humanities and Arts 1, no. 1 (2015): 47鈥�59.

鈥淭he Peasant Woman Leads the Dance: Some Ambiguities Presented by Vera Mukhina鈥檚 Sculpture,鈥� Russian Art & Culture 1 (2012): 7鈥�15.

鈥�Ostalgia at the New Museum (Review Article),鈥� ArtMargins, March 5, 2012. .

鈥淗ow Quickly Does Avant-garde Age?鈥� Review of exhibition Art of Another Kind: International Abstraction and the Guggenheim, 1949鈥�1960 on view at the Solomon R. Guggenheim Museum, New York, June 8鈥揝eptember 12, 2012. Studija 87, no. 6 (2012): 8鈥�17. .

鈥淭o Put Things into Order.鈥� Review of exhibition This Will Have Been: Art, Love & Politics in the 1980s at the Museum of Contemporary Art, Chicago, February 11鈥揓une 3, 2012. Studija 84, no. 3 (2012). .

Research Interests

History of photography as a social practice, transnational cultural networks and the global photo-club culture, sociology of culture, photography in social media.

Awards Recognition

Research Fellowship, The Graduate Center, City University of New York (2013鈥�2018)

Doctoral Student Research Grant and Marian Goodman Travel Grant. The Graduate Center, City University of New York (2016鈥�2017)

Provost鈥檚 Summer Research grant. The Graduate Center, City University of New York (2014)

AABS (the Association for the Advancement of Baltic Studies), J膩nis Grundmanis postgraduate scholarship (2013鈥�2014)

AAUW (the American Association of University Women), International Postgraduate Fellowship (2013鈥�2014)

Fulbright Foreign Student Fellowship. The Graduate Center, City University of New York (2011鈥�2012)

Institutional Affiliations/ Professional Societies

College Arts Association (CAA)

Southeastern College Art Conference (SECAC)

The Association for the Advancement of Baltic Studies (AABS)

Photography Network (PN)

Association for Slavic, East European, and Eurasian Studies (ASEEES)

Personal Interests:

Mystery and crime novels by women authors

Nordic noir

British TV drama Midsomer Murders